Готові списки джерел за темами / Ancient textile fabrics

Добірка наукової літератури з теми "Ancient textile fabrics"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 30 липня 2024

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Статті в журналах з теми "Ancient textile fabrics"

1

Wang, Ping, Tian Tian Li, and Ji Huan He. "Determination of the Del Zone in Tearing of Textiles Using an Ancient Chinese Algorithm." Advanced Materials Research 796 (September 2013): 183–86. http://dx.doi.org/10.4028/www.scientific.net/amr.796.183.

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Анотація:
Resistance of tear is an important characteristic of textile materials, especially for fabrics used for personal protective equipment. In this study, a constant force is applied to tear the fabric specimens to obtain the del-zone theoretically. The strain-stress curve for a single yarn is obtained from experiment, and the del-zone is determined by an ancient Chinese algorithm. This combination of ancient Chinese algorithm and actual tearing behavior of woven fabrics provides a noval analysis approach of tearing performance of textile product theoretically.
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2

Kaljus, Astri. "Reconstructing fabrics used in the clothing of “Kukruse Woman” from the late 12th century: A craftsperson’s perspective." Studia Vernacula 11 (November 5, 2019): 148–63. http://dx.doi.org/10.12697/sv.2019.11.148-163.

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Анотація:
This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”. The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost. Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving
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3

Kaljus, Astri. "Reconstructing fabrics used in the clothing of “Kukruse Woman” from the late 12th century: A craftsperson’s perspective." Studia Vernacula 11 (November 5, 2019): 148–63. http://dx.doi.org/10.12697/sv.2019.11.148-163.

Повний текст джерела
Анотація:
This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”. The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost. Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving
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4

Kaljus, Astri. "Reconstructing fabrics used in the clothing of “Kukruse Woman” from the late 12th century: A craftsperson’s perspective." Studia Vernacula 11 (November 5, 2019): 148–63. http://dx.doi.org/10.12697/sv.2019.11.148-163.

Повний текст джерела
Анотація:
This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”. The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost. Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving
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5

Azam, Farooq, Faheem Ahmad, Zeynep Ulker, Muhammad Sohail Zafar, Sheraz Ahmad, Abher Rasheed, Yasir Nawab, and Can Erkey. "The Role and Applications of Aerogels in Textiles." Advances in Materials Science and Engineering 2022 (September 17, 2022): 1–22. http://dx.doi.org/10.1155/2022/2407769.

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Анотація:
Textiles have been used for clothing purposes since ancient times. However, due to their functional properties, their importance—as well as their use in various fields such as filtration, protective clothing, and medical applications—increased over time. Properties of the textile fabrics depend mostly on the fiber type, fabrication technique, and structure. Moreover, fabric porosity is one of the properties that provide comfort, increased thermal insulation, and filtration capability to the end products. The porous structure of woven, knitted, and nonwoven fabrics has been used for many years to get the desired porosity. Usually, macroporous structures are achieved using these types of textiles. Electrospinning is used to produce nanoporous textile fibrous web, but its poor mechanical properties and low production rate limit its use. Aerogels are solid materials with ultrahigh porosity at the nanoscale with low density and good thermal insulation properties, due to which they are considered potential insulation materials today. On the other hand, pure aerogels are sometimes brittle and have poor mechanical properties. Thus, they cannot be directly used in various applications. Consequently, textile reinforced aerogel composites have been developed, which could provide flexibility and strength to aerogels and impart nanoporous structure to textiles. This review summarizes conventional techniques to produce the porous structure in textiles followed by the modern techniques to develop a nanoporous structure. Further, different mechanisms to synthesize textile reinforced aerogel composites are discussed to get a nanoporous structure for filtration and thermal insulation applications. The porosity, mechanical properties, and thermal insulation of textile reinforced aerogel composites are also highlighted. In the end, we give a conclusion that not only summarizes the literature, but also includes recommendations for the researchers.
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6

Simpson, Elizabeth, Mary W. Ballard, G. Asher Newsome, and Brendan Burke. "King Midas’s Textiles: Dyeing and Weaving Technology in Ancient Phrygia." Textile Museum Journal 50, no. 1 (2023): 4–31. http://dx.doi.org/10.1353/tmj.2023.a932848.

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Abstract: Many civilizations have left behind evidence of wonderful textiles exhibiting advanced weaving techniques and a variety of colors. It has been the task of textile historians, weavers, technologists, and chemists to investigate the extant finds. For ancient Phrygian textiles of the ninth–eighth centuries bce, this approach has been upended. The colorants in the largest royal burial at Gordion, Tumulus MM (for “Midas Mound”), were biologically disassociated from the textiles they once colored, which had degraded inside the tomb. Some years earlier, a fire had engulfed the City Mound at Gordion, carbonizing the textile remains, which survive only in shades of gray. Little was preserved of the beautiful textiles for which the Phrygians had been famous. New instrumental analyses have revealed a fuller picture of the Gordion textiles, answering many questions about their original colors and fabrics. While Tumulus MM produced inorganic yellow ochre (goethite) as the source for the “dye” used for the golden-hued cloth from the tomb, the remaining dye palette was largely organic: orange, reds, and purple achieved with madder and mordant/auxiliaries, and indigo with goethite for green. A structure on the City Mound yielded charred textile fragments featuring geometric patterns, recalling the inlaid designs on the fine wooden furniture from Tumulus MM. An adjacent group of workshops contained loom weights, spindle whorls, knives, and needles, indicating large-scale textile production at the site. Taken together, this new evidence provides unparalleled insight into the all-but-lost Phrygian textile industry and the sophisticated design sense and complex technical skills of the makers.
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7

Spantidaki, Stella, and Christina Margariti. "Archaeological textiles excavated in Greece." Archaeological Reports 63 (November 2017): 49–62. http://dx.doi.org/10.1017/s0570608418000054.

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Анотація:
This paper offers an account of the archaeological textiles excavated in Greece, consideration of the challenges one has to deal with when studying such materials and a discussion of ways to overcome them. A complete list of archaeological textiles excavated in Greece is not within the scope of this paper, since such comprehensive studies have been published previously (Spantidaki and Moulhérat 2012; Moulhérat and Spantidaki 2016) and, of course, the corpus of such textiles is continuously expanding.The study of textiles is an emerging and fast-growing field of Greek archaeology (Gleba 2011). The number of archaeologists and conservators working with and studying archaeological textiles is steadily increasing, thus raising the general awareness of textiles and expanding the corpus of known ancient fabrics. In recent years, several research projects have investigated ancient Greek textiles, such as those conducted by the Centre for Textile Research at the University of Copenhagen (for example Textile Economies in the Mediterranean Area), several funded by Marie Skłodowska Curie Action grants and some by European Research Council grants (for example Production and Consumption: Textile Economy and Urbanisation in Mediterranean Europe 1000–500 BCE hosted by Cambridge University).
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8

De Caro, Giannini, Lassandro, Scattarella, Sibillano, Matricciani, and Fanti. "X-Ray Dating of Ancient Linen Fabrics." Heritage 2, no. 4 (November 18, 2019): 2763–83. http://dx.doi.org/10.3390/heritage2040171.

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We propose a new method for dating ancient linen threads by inspecting their structural degradation by means of wide-angle X-ray scattering. X-ray dating of a textile sample can be performed nondestructively and on a submillimeter area, e.g., 0.2 0.5 mm2, exploiting new table-top X-ray micro-sources. A theoretical formula is derived for dating linen samples directly from wide-angle X-ray scattering measurements. Our preliminary results show that X-ray dating results are in agreement with other dating sources, such as the radiocarbon method and historical records, if some conditions are satisfied. Indeed, this new dating method can be applied only to threads not older than about thirty centuries because of the saturation of the structural degradation with age. Moreover, the method can be applied only on textiles in which cellulose degradation is mainly due by natural aging arising from thermal, hydrolytic, photolytic, photochemical, and oxidative processes. Analyses can be repeated several times on the same sample, which remains unaltered for other complementary characterization procedures. The proposed X-ray dating of some ancient linen fabrics opens the way to explore limits and potentialities of this new approach and to further develop a new dating method, alternative to the existing ones for specific applications in archeological studies.
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9

Kaljus, Astri. "12. sajandi lõpu Kukruse „memme“ rõivakangaste rekonstrueerimise lugu käsitöölise vaatenurgast / Reconstructing Fabrics Used in the Clothing of “Kukruse Woman” from the Late 12th Century: a Crafter’s Perspective." Studia Vernacula 7 (November 4, 2016): 130–46. http://dx.doi.org/10.12697/sv.2016.7.130-146.

Повний текст джерела
Анотація:
This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved scientists from various fields in the study of the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the “Kukruse Woman” grave.The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that when it came to weaving the fabrics some reliance had to be placed on other archaeological textile finds that dated back to the same period. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, use was made of yarn from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.
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10

Kaljus, Astri. "12. sajandi lõpu Kukruse „memme“ rõivakangaste rekonstrueerimise lugu käsitöölise vaatenurgast / Reconstructing Fabrics Used in the Clothing of “Kukruse Woman” from the Late 12th Century: a Crafter’s Perspective." Studia Vernacula 7 (November 4, 2016): 130–46. http://dx.doi.org/10.12697/sv.2016.7.130-146.

Повний текст джерела
Анотація:
This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved scientists from various fields in the study of the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the “Kukruse Woman” grave.The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that when it came to weaving the fabrics some reliance had to be placed on other archaeological textile finds that dated back to the same period. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, use was made of yarn from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.
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Дисертації з теми "Ancient textile fabrics"

1

Feik, Jennifer. "An analysis of textile roles in pre-history Olmec and Chinese civilizations." online access from Digital Dissertation Consortium access full-text, 2004. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1419178.

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2

Marsh-Letts, Glennda Susan. "Ancient Egyptian linen : the role of natron and other salts in the preservation and conservation of archaeolgical textiles : a pilot study." Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/20291.

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Анотація:
An understanding of the physical and chemical nature of archaeological textiles is an important prerequisite for their successful conservation treatment, display and storage. Ancient Egyptian linen textiles were examined through a combination of optical microscopy, environmental scanning electron microscopy (ESEM), ion chromatography (IC), and energy dispersive X-ray analysis (EDXA). These analytical techniques were used to distinguish between flax fibres, foreign matter present on and within flax fibres, and natron or other salts absorbed into the linen fibres in a form of partial mineralization. The use of ESEM enabled the observation and recording of the movement of salts, in real time, during cycles of hydration and dehydration. Few studies have been undertaken to date on the dynamics of salt crystallisation within organic archaeological materials, and none previous to this has been published showing the dynamics of salt crystallisation within archaeological textiles. Once the dynamics of salt crystallisation were viewed and recorded it became possible to investigate methods for the treatment of salt affected textiles through washing trials followed by alternative methods of drying. The release of salts from linen samples during washing in deionized water was monitored using IC and ESEM with EDXA, showing the pattern of salt removal and retention. The use of IC, ESEM and EDXA to monitor salt removal in textiles has not previously been reported. A conservation treatment for ancient Egyptian linen was developed, incorporating a long water washing to remove salts, soils and organic deposits, followed immediately by carefully controlled freeze drying. This was effective in preserving the integrity of the ancient linen. By combining archaeological, historical and chemical data, this pilot study of the effects of salts upon and within linen textiles has widened our understanding of the role played by salts in both the deterioration and the preservation of the textiles.
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3

Katterman, Grace. "STYLISTIC ANALYSIS OF TYPE IB AND IC TAPESTRY TUNICS FROM THE MIDDLE HORIZON WARI CULTURE OF ANCIENT PERU." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/276904.

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4

Marsh-Letts, Glennda Susan. "Ancient Egyptian linen - the role of natron and other salts in the preservation and conservation of archaeolgical textiles a pilot study /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031219.155140/index.html.

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5

Marsh-Letts, Glennda Susan, University of Western Sydney, and School of Civic Engineering and Environment. "Ancient Egyptian linen : the role of natron and other salts in the preservation and conservation of archaeolgical textiles : a pilot study." 2002. http://handle.uws.edu.au:8081/1959.7/20291.

Повний текст джерела
Анотація:
An understanding of the physical and chemical nature of archaeological textiles is an important prerequisite for their successful conservation treatment, display and storage. Ancient Egyptian linen textiles were examined through a combination of optical microscopy, environmental scanning electron microscopy (ESEM), ion chromatography (IC), and energy dispersive X-ray analysis (EDXA). These analytical techniques were used to distinguish between flax fibres, foreign matter present on and within flax fibres, and natron or other salts absorbed into the linen fibres in a form of partial mineralization. The use of ESEM enabled the observation and recording of the movement of salts, in real time, during cycles of hydration and dehydration. Few studies have been undertaken to date on the dynamics of salt crystallisation within organic archaeological materials, and none previous to this has been published showing the dynamics of salt crystallisation within archaeological textiles. Once the dynamics of salt crystallisation were viewed and recorded it became possible to investigate methods for the treatment of salt affected textiles through washing trials followed by alternative methods of drying. The release of salts from linen samples during washing in deionized water was monitored using IC and ESEM with EDXA, showing the pattern of salt removal and retention. The use of IC, ESEM and EDXA to monitor salt removal in textiles has not previously been reported. A conservation treatment for ancient Egyptian linen was developed, incorporating a long water washing to remove salts, soils and organic deposits, followed immediately by carefully controlled freeze drying. This was effective in preserving the integrity of the ancient linen. By combining archaeological, historical and chemical data, this pilot study of the effects of salts upon and within linen textiles has widened our understanding of the role played by salts in both the deterioration and the preservation of the textiles.
Doctor of Philosophy (PhD)
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6

Green, Gillian. "Royalty and ritual - : the origins of the Cambodian costume and textile tradition." Thesis, 1999. http://hdl.handle.net/1885/148155.

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Книги з теми "Ancient textile fabrics"

1

Anton, Ferdinand. Ancient Peruvian textiles. New York, N.Y: Thames and Hudson, 1987.

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2

Lisa, Monnas, Granger-Taylor Hero, and Pasold Research Fund Ltd, eds. Ancient and medieval textiles: Studies in honour of Donald King. [England]: Pasold Research Fund, 1990.

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3

Hero, Granger-Taylor, Monnas Lisa, and Pasold Research Fund Ltd, eds. Ancient and medieval textiles: Studies in honour of Donald King. [London]: Pasold Research Fund, 1989.

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4

Textilsymposium Neumünster (1993 Textilmuseum Neumünster). Textilsymposium Neumünster, 4. - 7. 5. 1993 (Nesat V). Edited by Jaacks Gisela, Tidow Klaus, and Textilmuseum Neumünster (Schleswig-Holstein Germany). Neumünster: Textilmuseum Neumünster, 1994.

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5

de, Moor A., Fluck Cäcilia, and Falck Susanne, eds. Methods of dating ancient textiles of the 1st millennium AD from Egypt and neighbouring countries: Proceedings of the 4th meeting of the study group "Textiles from the Nile Valley', Antwerp, 16-17 April 2005. Tielt, Belgium: Lannoo, 2007.

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6

Hodnett, M. K. Weaving samplers of ancient Peru. [Perú]: Amano Museum, 2004.

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7

Journées d'études de la S.F.I.I.C. La conservation des textiles anciens: Journées d'études de la SFIIC, Angers, 20-22 octobre 1994. Champs-sur-Marne: SFIIC, 1994.

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8

Harcourt, Raoul d'. Textiles of ancient Peru and their techniques. Mineola, NY: Dover Publications, 2002.

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9

NESAT Symposium (6th 1996 Borås, Sweden). Textiles in European archaeology: Report from the 6th NESAT Symposium, 7-11th May 1996 in Borås. Göteborg: University of Göteborg, Dept. of Archaeology, 1998.

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10

Petzel, Florence Eloise. Textiles of ancient Mesopotamia, Persia, and Egypt. [Corvallis, Or.?]: F.E. Petzel, 1987.

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Частини книг з теми "Ancient textile fabrics"

1

Mohamed, Huda. "History of the Textile Industry in Egypt." In Preservation and Restoration Techniques for Ancient Egyptian Textiles, 1–23. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-4811-0.ch001.

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Анотація:
Egypt is one of the most famous countries in the textile industry, this industry has flourished as a result of availability of many factors helping the industry prosper throughout its history.Therefore, this chapter aims to study the history of archaeological textiles in Egypt from Pharaonic era through Coptic and Islamic periods. The study begins with the raw materials of natural fibres used in textile's industry, technical methods from spinning and threads preparation, dyes, weaving on looms, and types of looms. Then, it looks at decorative methods used in textiles. In addition to studying the history and development of Islamic textiles in Egypt, decorations, and fabrics produced during Islamic age, it will also study the most important centers in industry and trade textile during that period.
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2

Gouda, Maha, Mostafa Atiaa, and Omar Abdel-Kareem. "Investigation and Analysis of Ancient Dyed Textiles." In Preservation and Restoration Techniques for Ancient Egyptian Textiles, 93–118. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-4811-0.ch005.

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Анотація:
A material investigation is a very important step in the documentation of the component's properties for materials of an object, in estimating its condition, and in considering appropriate conservation treatments. Textile fibers are the fundamental unit of material that makes up fabrics and textiles. Fibers are frequently classed as either natural or man-made, though there are also several categories and sub-types. Natural fibers are further categorized based on their origin (vegetable, animal, or mineral). According to that, this chapter deals with investigation methods for both main components of ancient textiles, fibers, and dyes; as the analysis of the materials utilized in textile dyeing could also be a valuable tool to know how an object originally looked, how old it is, and where it comes from. This data allows conservators to settle on appropriate procedures for restoration and dating textiles depending upon its manufacturing discovery date and its type of dye.
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3

Singh, Sudarshan, and Warangkana Chunglok. "Potential Application of Biopolymers in the Textile Industry." In Biopolymers Towards Green and Sustainable Development, 153–67. BENTHAM SCIENCE PUBLISHERS, 2022. http://dx.doi.org/10.2174/9789815079302122010010.

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Анотація:
Textile configurations are derived from two major sources such as ancient handicraft and modern scientific inventions. Textile fabrication using polymeric fiber is one of the fastest-growing sectors since the 19th century and is currently the secondlargest manufacturing industry after information technology. Although polymers are predominantly used in the development of dosage forms, however recent devolvement in natural polymer chemistry reflects its association with the production of plastics, fibers, elastomers, etc. Innovation using natural polymer fibers-based textile could serve as an alternative capable of replacing synthetic polymer-based fibers. Polymers, especially fibers contribute significantly to the manufacturing of textiles. Moreover, copolymerization of fabrics fibers with excipients demonstrated potential for the development of materials useful in various biomedical applications. Furthermore, to understand the fundamental characteristics of polymeric fibers including structural composition, morphological features such as crystallinity, and orientation, a comprehensive skill is necessary. This chapter discusses the basic materials used in the fabrication of textile products, with emphasizes on bio-based polymers as an alternative to synthetic polymers in the production of fabrics.
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Shrivastava, Seema, and Sumita N. Rao. "FENTON OXIDATION PROCESS FOR TREATMENT OF WASTE WATER CONTAINING DYES." In Futuristic Trends in Chemical Material Sciences & Nano Technology Volume 3 Book 18, 450–59. Iterative International Publishers, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3bdcs18ch36.

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Dyeing is the process that imparts colour to the fabric, making it attractive. It is one of the primary processes in the textile industry. Since ancient times, natural fabric dyes were used all over the world. Several plants and animals were used to produce various natural dyes for the fabrics. In 1070 BC the Tai Kang of the Xia Dynasty used purple dye, which was obtained from the tropical Murex Snails. Large amount of snails was needed to produce an ounce of dye. Mauveine, the first synthetic dye, was discovered by William Henry Perkin in 1856. Since then many acid, basic, reactive, mordant, vat, azoic, sulfur dyes were synthesized and found numerous applications in dyeing industries.
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Kalode, Abha Ashish. "EXTRACTION OF ECO FRIENDLY NATURAL DYES FEOM BRAZILWOOD AND THEIR APPLICATION ON FABRIC." In Futuristic Trends in Agriculture Engineering & Food Sciences Volume 3 Book 17, 39–52. Iterative International Publisher, Selfypage Developers Pvt Ltd, 2024. http://dx.doi.org/10.58532/v3bcag17p1ch4.

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The art of dyeing is a complex and specialized science, with most dye stuffs now being produced from synthetic compounds. Synthetic dyes have significantly reduced costs and enhanced certain application and wear characteristics. However, proponents of natural dyeing, which involves using dyes sourced from naturally occurring materials such as plants and insects, argue that natural dyes offer a superior aesthetic quality that is more pleasing to the eye. On the other hand, commercial practitioners often find natural dyes non-viable due to concerns about quality and economics. In the Western world, natural dyeing is mainly practiced as a handcraft, while synthetic dyes dominate commercial applications. Natural dyes from plants, roots, bark, and minerals were the only option for coloring textiles in the ancient era. The industrialization of textile production and advances in synthetic chemistry led to the rise of synthetic dyes, gradually relegating natural dyes to obscurity. However, in recent decades, environmental concerns surrounding synthetic dye production and application have rekindled interest in natural dyes. Environmentally conscious consumers now prefer textiles colored with natural dyes, creating a niche market for such products.Despite this resurgence, the total share of natural dyes in the textile sector remains at approximately 1% due to various technical and sustainability challenges. The sustainability of natural dyes is due to their renewable and biodegradable nature.Despite being available in ready-to-use standard form and unsuitable for machine use, their production and application are faced with obstacles, despite their availability in ready-to-use standard form and limited and non- reproducible shades. Moreover, the high demand from the textile industry and the need to prioritize land for food and feed purposes make it difficult for natural dyes to meet large-scale requirements.
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Kumar, Ashok, Utkarsh Dixit, Kaman Singh, Satya Prakash Gupta, and Mirza S. Jamal Beg. "Structure and Properties of Dyes and Pigments." In Dyes and Pigments - Novel Applications and Waste Treatment. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.97104.

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Colour is one of the elements of nature that makes human life more aesthetic and fascinating in the world. Plants, animals, and minerals have been used as primary sources for colourants, dyes or pigments since ancient times. In our daily life, we know about many substances which have specific colours. These are the substances which are used as colourants i.e.; colour imparting species. Both dyes and pigments are coloured as they absorb only some wavelength of visible light. Their structures have Aryl rings that have delocalized electron systems. These structures are said to be responsible for the absorption of electromagnetic radiation that has varying wavelengths, based upon the energy of the electron clouds. Dyes are coloured organic compounds that are used to impart colour to various substrates, including paper, leather, fur, hair, drugs, cosmetics, waxes, greases, plastics and textile materials. A Dye is a coloured compound due to the presence of chromophore and its fixed property to the acid or basic groups such as OH, SO3H, NH2, NR2, etc. The polar auxochrome makes the dye water-soluble and binds the dye to the fabric by interaction with the oppositely charged groups of the fabric structure. Pigments are organic and inorganic compounds which are practically insoluble in medium in which they are incorporated. Dyes and pigments are the most important colourants used to add colour or to change the colour of something. They are widely used in the textile, pharmaceutical, food, cosmetics, plastics, paint, ink, photographic and paper industries. This chapter is devoted to the structure and properties of dyes and pigments.
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BORAN, Ali. "SİLİFKE KALESİ KAZI ÇALIŞMALARI (2011- 2022)." In CUMHURIYETIN BIRINCI YÜZYILINDA ANADOLU’DA TÜRK DÖNEMI ARKEOLOJI ÇALISMALARI, 509–25. Türkiye Bilimler Akademisi, 2023. http://dx.doi.org/10.53478/tuba.978-625-8352-61-0.ch23.

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Silifke is a district of Mersin province, currently located in the Mediterranean Region. Silifke Castle is located in the south of the region called Rough Cilicia in history, on the west side of the city, on the route that provides passage from the Mediterranean coast to Central Anatolia, at the intersection of land and sea trade. Silifke Castle was built at a point overlooking all roads, controlling both the trade route and the port. After the Silifke Castle excavations (2011-2022); Four periods have been identified: Roman, Byzantine, Karamanid and Ottoman Periods. It is understood that Silifke Castle was built in the Roman Period, and that it took its final shape by adding the defensive moat around the castle, the B-1 entrance gate, the A-16 military place adjacent to the walls, the church, the chapel, and some of the public and civil buildings in the Byzantine Period. After Silifke Castle was conquered by the Karamanids, the church in the center of the castle was converted into a mosque as a symbol of the Conquest, and the walls, moat, fortress veil and the spaces inside the castle began to be shaped according to the needs of the Turks. During the Ottoman Period, the settlement pattern inside the castle took its final shape. Thus, the castle, which is an important element of the medieval Turkish urban fabric, shows itself in the Silifke castle settlement pattern with the general characteristic of Turkish-Islamic cities. The settlement structure inside the castle was renewed according to need during the Ottoman Period. Rough-cut masonry, which is the traditional masonry of the region and built without the use of mortar, was applied in the interior spaces of the castle. With the excavations, the texture of the settlement inside the castle; It has been determined that the residences and social buildings belonging to the administration in the west, the mosque and the commercial buildings developed around it in the middle, and the residences and social buildings belonging to the public and the military in the east. Excavation findings are one of the most important data in identifying the castle. Excavation findings provide us with a wide range of data, from the art environment to daily life and aesthetic tastes of the Roman, Byzantine, Karamanid and Ottoman periods. The majority of the findings reflect the Turkish- Islamic period, and how the settlement pattern developed in every area we work can be followed.Each piece, especially architectural plastics, ceramics, metal, glass, stone, bone and wooden findings, is of great importance to us. These findings allow us to establish a bond with the master who made the work and the person who used it, understand their practices, and share this with today’s people.It also tells us about the social taste of that period, the technology they used, the exchange and solidarity between societies or different tastes. After the Silifke Castle excavation (2011-2022); It has been revealed that the castle has been used since ancient times and continued its effectiveness in the Roman and Byzantine periods. From the architectural remains and small artifacts identified, it is understood that Silifke Castle was inhabited until the last times of the Karamanoğlu and Ottoman Periods. Thus, it was revealed that Silifke Castle is one of the rare ruins in Anatolia that display the castle-city feature of the Turkish period. For more detailed information, please refer to the Extended Abstract at the end of the text
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Тези доповідей конференцій з теми "Ancient textile fabrics"

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Munteanu, Angela. "Contemporary interior space in promoting national identity of traditional Romanian stylistics." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.05.

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Th e traditional Moldovan-Romanian style represents the history traveled through cultural inferences, identity and tradition, with a valuable potential approached in the stylistics of the contemporary rural and urban space. Since ancient times, the Romanian people have built and decorated their home with handmade ornaments, both pieces of furniture and textiles ornamented with symbols transmitted from generation by generation. Today we have a valuable cultural heritage inherited from our ancestors, which is kept with holiness in peasant dwellings, traditional-vernacular architecture in the Moldovan villages. Th e traditional Moldovan-Romanian style is one with an ethnically artisanal rustic aspect, which conveys the idea of nature, through the colors, materials and fabrics used. Th e well-developed craft smanship from the end of the XIX century, the beginning of the twentieth century in Bessarabia puts a great emphasis on the Moldovan-Romanian national style through folk art. Man has always sought to increase the comfort of his homes, today the creators of interiors implement the traditional national stylistics, one with character and connection between health, family and the tradition of the sheavers.
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